The TSL’s Daily Horror Grindhouse: Deathdream (dir by Bob Clark)

Posted on October 21, 2015 by Lisa Marie Bowman

The 1974 film Deathdream opens with American soldier Andy Brooks (played by Richard Backus) on patrol in Vietnam. When he’s suddenly shot by an unseen sniper, he hears his mother’s voice calling out to him, telling him that he promised to come home. With the voice filling his head, Andy closes his eyes.

Sometime later, back in America, Andy’s family has been informed that Andy was killed in action. His father (John Marley, who you might recognize as the man who played Jack Woltz in The Godfather) and his younger sister (Anya Ormsby) have managed to accept the fact that Andy is dead but his mother (Lynn Carlin) remains in denial. Oddly enough, his mother is apparently proven to be correct in her doubts when Andy suddenly shows up at the front door.

The family (and, eventually, the entire community) welcomes Andy home but it quickly becomes apparent that Andy has returned as a far different person than when he left. Now pasty and emotionless, Andy spends most of his day sitting around listlessly. It’s only at night that Andy seems to have any energy and he spends those hours wandering around town and hanging out in the local cemetery.

It quickly becomes apparent to his father that Andy is no longer quite human. However, his devoted mother continues to insist that nothing is wrong with Andy and, once it becomes apparent just what exactly Andy is doing in order to survive, she becomes just as fanatical about protecting him as his father is about destroying him.

Not surprisingly, Deathdream is more than just a zombie film. When Andy suddenly shows up on his family’s doorstep, he’s more than just a decaying monster. He’s also a metaphor for the unease that viewers in the 70s would have felt about the state of American society. (Of course, in many ways, contemporary viewers share that same unease.) Andy goes off to war and it literally robs him of his humanity. I would also argue that, in its way, Deathdream serves as a satire of the type of complacent society that sends young people off to fight for their lives and then expects them to come back exactly the same as they were before they left. No matter how strange Andy’s behavior becomes, the people around him are willing to either ignore it or make excuses for it. Andy’s mother emerges as a stand-in for everyone who willfully refuses to acknowledge the human consequences of war.

Deathdream is one of those wonderful horror films that deserves to be better known than it is. Deathdream was an early credit for the legendary effects artist Tom Savini and, while the film itself is not especially gory, Savini’s work can definitely be seen in the scenes where Backus’s body slowly decays. Screenwriter Alan Ormsby and director Bob Clark (who later went on to direct the far different A Christmas Story) perfectly creates and maintains a deceptively low-key atmosphere of perpetual unease while the cast elevates the entire film. Backus makes for an all-too plausible ghoul and Marley is great as a man struggling to understand what his son has become. The film is totally stolen, however, by Lynn Carlin who is both poignant and frightening as Andy’s devoted mother.

If you haven’t discovered Deathdream yet, this Halloween is the perfect season to do so.

Horror Film Review: The Mummy’s Shroud (dir by John Gilling)

Posted on October 21, 2015 by Lisa Marie Bowman

In this underrated horror film from the legendary Hammer Studios, a British archaeological expedition travels to Egypt and makes the mistake of entering a mummy’s tomb. As often happens, it turns out that the tomb is cursed and everyone who sets foot inside of it is destined to be tracked down and murdered by a mummy!

That’s pretty bad news for some of members of the expedition. Among those who are now on the Mummy’s list, there’s Sir Basil Waldron (Andre Morrell) who, in the film’s most effective moment, finds himself talking to a toothless fortune teller who cackles as she tells him, “You are going to die!” (Needless to say, a 7 foot tall Mummy is soon standing behind him). And then there’s Claire (Maggie Kimberly), the linguist who translated the curse. And there’s the expedition’s hilariously pompous financial backer, Stanley Preston (John Phillips), along with Stanley’s son, Paul (David Buck). And finally, there’s poor Mr. Longbarrow (Michael Ripper), Stanley’s press agent. If you’ve seen any other Hammer films from the late 60s, you’ll recognize the majority of the cast and you will probably be able to guess everyone’s fate from the minute they first appear on screen.

That, of course, is part of the fun!

First released in 1967 and often dismissed as being one of the lesser horror films to come out of Hammer Studios, The Mummy’s Shroud is actually a pretty effective film. I watched it late last night, with lights out and the sound of rain pounding on the windows outside and I have to admit that, even if nothing about the film surprised me, it still had enough eerie moments that I found myself watching for sudden shadows and the sound of heavily wrapped feet.

And why not? Mummy’s are scary! Even if you don’t know all of the grotesque details that go into the mummification process, Mummy’s just look frightening. It’s the bandages, to be honest. The bandages keep you from knowing exactly who is doing the stalking but, at the same time, you know that if those bandages were unwrapped, you wouldn’t want to see what’s hiding underneath them. By their very existence, Mummies are proof of the finality of death.

And The Mummy in The Mummy’s Shroud is frightening! He towers over all of the “human” actors in the film and when he attacks, he does it with a sudden and savage cruelty. Perhaps the death that disturbed me the most was the death of poor Mr. Longbarrow, who is literally lifted up off of his feet and tossed out of a window. He crashes to the street below and, briefly, the screen is awash with Hammer’s trademark red blood. It’s a disturbing scene, both because Longbarrow is one of the few likable characters in the film and also because the Mummy could have just as easily and much more efficiently strangled him. Instead, the Mummy had to be mean about it.

Seriously, there’s nothing more frightening than a sadistic mummy.

The Mummy’s Shroud may not be one of Hammer’s best films but still, it’s an efficient little horror film and one that, I think, many other horror critics have been a bit too quick to dismiss.

Horror on The Lens: The Embalmer (dir by Dino Tavella)

Posted on October 21, 2015 by Lisa Marie Bowman

For today’s horror on the lens, we present, for your viewing pleasure, a 1965 Italian thriller called The Embalmer. It’s also known as the Monster of Venice.

This film tells the story of a madman who lives in the catacombs in Venice, where he wanders around in a skull mask and embalms dead bodies. Why does he embalm dead bodies? Because he loves eternal beauty, of course!

Occasionally, he comes up to the surface and he wanders around Venice while wearing scuba gear. Nobody finds that to be strange but then again, that’s Venice for you.

(As I’m sure I’ve mentioned a few times in the past, I spent the summer after high school in Italy. I loved Venice!)

Anyway, as far as Venice-set thrillers are concerned, The Embalmer is no Don’t Look Now. But it still has a few atmospheric scenes and the whole thing is filmed on location and in beautiful black-and-white. It’s also fairly tame for an Italian horror film, so it might be good for those viewers who are looking for a thriller that doesn’t necessarily feature a lot of blood.

The Daily Horror Grindhouse: Patrick Still Lives (dir by Mario Landi)

Posted on October 20, 2015 by Lisa Marie Bowman

From the mid-60s to the early 80s, filmgoers could be sure of one thing. If a film was in any way successful in America or Europe, an Italian filmmaker would end up directing an unofficial sequel. These films usually had next to nothing to do with the original film, beyond having a similar title and occasionally duplicating a few plot points. (Since these films were always dubbed before being released in non-Italian markets, dialogue, character names, and even plot points were often arbitrarily changed to take advantage of whatever film was currently popular at the box office.) Occasionally, you’d have a film that managed to overcome its “unofficial sequel” status. For instance, Lucio Fulci’s Zombi 2 may have started out as a fake sequel to Dawn of the Dead but, thanks to Fulci’s skill as a director, the film transcended its origins and managed to establish its own identity.

Far more typical, however, was the case of Patrick Still Lives, a 1980 film that was sold as being a sequel to the Australian horror classic, Patrick. Though the film’s title suggests that it was meant to be a sequel, nobody involved in the production of Patrick had anything to do with Patrick Still Lives.

Patrick Still Lives follows the same basic plot as Patrick. A young man named Patrick (Gianni Dei) may be in a coma but he has psychic powers that he uses to kill various people. Again, Patrick falls in love with a woman, in this case a secretary named Lydia (Andrea Belfiore).

There are, of course, a few differences. Whereas Patrick opened with the title character murdering his mother and her lover, Patrick Still Lives opens with a hilariously awkward sequence in which Patrick gets struck in the head by something thrown from a passing car. Or, at least, that’s what I think happened. The way the scene is shot, it’s really hard to tell what exactly happens. At one point, Patrick is standing on the side of the road. Suddenly, he’s clutching his head and collapsing to the ground and we hear a car speeding away on the soundtrack. Patrick’s head is covered in ketchup, which I assume is meant to be blood.

Next thing we know, Patrick is in a coma and, with his eyes always open, he’s even duplicating the infamous stare that made the first film so memorable. Fortunately, Patrick’s father is a doctor who runs a spa. He keeps Patrick hidden in a locked room, where he’s wired to three other comatose people.

Eventually, five people show up at the spa. They’re looking to spend a relaxing weekend away from it all but Patrick is planning on killing them all…

There’s a few things that you notice immediately about Patrick Still Lives. First off, everyone’s naked, but, on the plus side, everyone has, at the least, an okay body and the men get naked too. The nudity is so gratuitous and so excessive that it actually becomes amusing. By the time the film’s male lead (who, it should be noted, had quite an impressive pornstache) was standing naked at a dresser and casually lighting a cigarette while ominous music played on the soundtrack, I simply could not stop laughing.

Secondly, you notice just how amazingly violent and bloody this film is. Whenever Patrick’s glowing eyes are superimposed over a scene, it means that someone is about to die in the most violent way possible. Dogs attack. A hook is driven into a face. An automatic car window is used as a tool for decapitation. The film’s most infamous scene features Mariangela Giordano being skewered, in close-up, by a fireplace poker.

That’s right — Patrick Still Lives is yet another Italian horror film that features Mariangela Giordano dying in the most unpleasant way possible. As such, along with Giallo in Venice and Burial Ground: The Nights of Terror, it forms an unofficial trilogy of films in which Mariangela Giordano is brutally murdered. Oddly enough, all three of these films were produced by Giordano’s then-boyfriend, Gabriele Crisanti. If my boyfriend ever produces a horror film, I better be one of the survivors and that’s all I’ll say about that.

The third thing that you notice about Patrick Still Lives is the dialogue. Now, I’m not sure if Patrick Still Lives ever got a “true” (and dubbed) release here in the States. I do know that my DVD features everyone speaking in Italian, with English subtitles. I have to admit that I’ve always resented that, in the U.S., so many Italian horror films are only available in a dubbed version. Often the dubbing is so terrible that it detracts from the film’s overall effectiveness and makes it impossible to fairly judge the performances. Well, with Patrick Still Lives, I got to see an Italian horror film in the original Italian and … well, the performances were just as bad in Italian as they probably would have been in badly dubbed English.

That said, I did enjoy reading the subtitles, largely because they were hilariously bad. It was almost as if someone had typed the film’s Italian dialogue into Google translator and transcribed the results. My favorite line? “The cause of death was fatality.”

Anyway, Patrick Still Lives is a pretty crappy film and I don’t recommend it unless you’re a diehard fan of Italian exploitation films. I do, however, recommend that you watch Zombi 2. That’s a really good film.

Horror on TV: Baywatch Nights 2.14 “Nights to Dragon One”

Posted on October 20, 2015 by Lisa Marie Bowman

Oh my God, y’all are going to love this.

In this episode of Baywatch Nights, David Hasselhoff and Angie Harmon are hired to track down a missing man and his daughter. Their search leads to them becoming literally trapped inside a virtual reality where they either have to defeat the crazed Game Master (Vincent Schiavelli) or die! There’s even a scene where Angie Harmon has to pick up and roll a giant die! Taking full advantage of the inherent ludicrousness of David Hasselhoff’s screen persona, this is an episode that has to be seen to be believed.

So, watch below and believe.

Horror Film Review: Patrick (dir by Richard Franklin)

Posted on October 20, 2015 by Lisa Marie Bowman

Patrick, a 1978 horror film from Australia, opens with the title character (played by Robert Thompson) watching as his mother makes love to her boyfriend. The first thing that we notice about Patrick is his stare. It’s intense and more than a little unsettling. (Actually, to be honest, the first thing we notice about Patrick is his head of blonde hair. But that stare is a close second.) The next thing that we notice about Patrick is that he doesn’t speak. Instead, he just stares. Eventually, when his mother and her boyfriend are taking a bath, Patrick drops a heater into the water and electrocutes both of them.

Yes, Patrick has some issues.

When we next meet Patrick, three years have passed. He’s in a coma now and spends all of his time laying in a bed in a private hospital. Everyone says that he’s brain dead, despite the fact that he still reflexively spits. The head nurse, the bitter Matron Cassidy (Julia Blake), hates the fact that Patrick is being kept alive. As she tells a new nurse, she feels that he is a waste of space and she wishes that she could just turn off the machines that are keeping Patrick alive.

Strangely, Patrick shows no physical signs of having been in a coma for three years. (One doctor points out that Patrick hasn’t even lost any weight during his time in the hospital.) And then, there’s the fact that Patrick’s eyes are always open. Even in a coma, he has the same intense stare.

An idealistic new nurse named Kathie (Susan Penhaligon) takes an interest in Patrick. Over the objections of Matron Cassidy, Katie tries to talk to Patrick. Kathie becomes convinced that Patrick’s spitting is not merely a reflex action but it’s actually his attempt to communicate. Kathie becomes obsessed with proving the Patrick can still respond to the outside world.

And, in any other film, this is the type of storyline that would ultimately lead to a very inspiring conclusion, in which the idealistic nurse’s faith is validated and the stricken patient is finally allowed to find a measure of happiness and dignity.

However, Patrick is a horror film.

Kathie does eventually discover that Patrick can see and hear. Patrick does know what’s going on in the outside world. But what Kathie doesn’t expect is that Patrick turns out to be a bit of an obsessively jealous pervert. Also, it turns out that Patrick has the power of telekinesis. Soon, he’s using a typewriter to send Kathie messages like, “It’s time for Patrick’s handjob.”

Patrick also uses his powers to punish any man who he feels is getting too close to Kathie. This includes Kathie’s husband, Ed (Rod Mullinar). First, Patrick causes Ed to seriously burn his hands on a hot casserole dish. Then he traps Ed in an elevator, forcing Kathie to beg for her husband’s life.

Patrick is a surprisingly well-acted and effective little horror film, one that spends as much time on maintaining the proper melancholy atmosphere as it does on trying to shock the audience. The end result is an intelligent little gem that will make you think even as it attempts to scare you. That said, my main memory of Patrick will always be that stare. Seriously, it was so creepy!

A remake was released in 2013 but I have yet to see it. However, I have seen the film’s unofficial Italian sequel and that’s what I’ll be reviewing next!

Horror on the Lens: Carnival of Souls (dir by Herk Harvey)

Posted on October 20, 2015 by Lisa Marie Bowman

Much like watching Plan 9 From Outer Space, Night of the Living Dead, Treevenge, or Santa Claus Conquers The Martians, watching the 1962 independent film Carnival of Souls is a bit of a holiday tradition here at the Shattered Lens.

And you know how much I love tradition!

Directed in a dream-like fashion by Herk Harvey (who also directed several of the educational short films that I’ve occasionally shared on this site, including Cheating, The Show-Off, and The Gossip), Carnival of Souls tells the story of Mary (Candace Hilligoss) who, after a car accident, finds herself haunted by visions of ghostly figures. Independently produced and distributed, Carnival of Souls did not get much attention when it was originally released but it is now generally acknowledged as a horror classic. Reportedly, David Lynch loves this movie and, when you watch it, you’ll be able to see why!

It’s October. It’s 11 more days ’til Halloween. It’s time to watch Carnival of Souls.

Horror on TV: Baywatch Nights 2.13 “Frozen Out Of Time”

Posted on October 19, 2015 by Lisa Marie Bowman

On tonight’s episode of horror on TV, we have an episode of Baywatch Nights that originally aired on February 2nd, 1997. In this one, two 900 year-old Vikings are causing chaos in Los Angeles! Who can stop them?

David Hasselhoff, of course!

The Daily Horror Grindhouse: Nightmares in a Damaged Brain (directed by Romano Scavolini)

Posted on October 19, 2015 by Lisa Marie Bowman

I once read about a low-budget horror film that was released in the mid-70s. The film was advertised as being “a film that could only have been made in South America … where life is cheap!” That little bit of advertising hyperbole has always stuck with me and sometimes, when I see a particularly nasty exploitation or horror film, I find myself saying, “They must have made this movie somewhere where life is cheap!”

This, of course, brings us to Nightmares in a Damaged Brain, an Italian film that was originally released in 1981, at the height of the slasher movie boom. Nightmares is infamous as one of those gore-filled horror films that has achieved a certain amount of immortality by being banned in several different countries. It’s only been within the past few years that Nightmares has been released on DVD in the U.S. That DVD is supposedly the “uncut” version of the film but there are rumors of scenes so bloody and disturbing that they have still not seen the light of day. Usually, it’s something of a let down to finally see a film as infamous as Nightmares in a Damaged Brain. It’s rare that a film’s reality ever lives up to the rumors surrounding it. However, having seen Nightmares in a Damaged Brain, I can truly say that, if nothing else, this film had to have been made in a place where life is cheap.

Nightmares in a Damaged Brain concerns itself with George (Baird Stafford), a violent inmate at a New York insane asylum who is given an experimental drug that seems to control his violent impulses. He’s released from the hospital and, after spending some time wandering around some of the seediest sections of New York ever captured on film, he ends up at a sex club, writhing on the floor and foaming at the mouth. Apparently, that drug’s not working as well as everyone thought…

Soon, George has stolen a car and he is relentlessly driving across the country. George, it seems, is obsessed with a young boy who lives in Florida along with his loud, white trash family. Along the way to Florida, George has several gore-filled nightmares (the majority of which feature him as a bowtie-wearing child, murdering two people with an axe) and kills a few random people as well.

While the film was released to take advantage of the early 80s slasher boom, director Romano Scavolini rejected many of the conventions of slasher genre. Instead of emphasizing pretty teenagers and slick production values, Scavolini instead emphasized the sordid “reality” of the film’s rather trashy cast of characters. There’s not a likable character to be found anywhere within this film nor is there a single scene that doesn’t feel as if it’s been drenched in sleaze. An ominous atmosphere of impending, relentless doom hangs over every second of the film. This doesn’t necessarily make for an enjoyable viewing experience but it is a film that, once you start watching, is difficult to look away from.

The film’s opening credits (and the poster pictured above) claim that the gore effects were done by the famous Tom Savini. Savini has always denied having anything to do with the film and, at one point, threatened to sue the filmmakers to get his name removed from the credits. Regardless of whether Savini did them or not, the film’s gore effects are memorable and rather disturbing.

I had to take a shower after sitting through Nightmares In A Damaged Brain and I doubt I’ll ever watch it a second time. Still, I’m glad that I did watch it because this brutally effective film is truly a part of horror film history. If nothing else, I can now honestly say that I’ve seen a film that truly must have been made somewhere where life is cheap.

Horror Film Review: Bride of the Monster (directed by Edward D. Wood, Jr.)

Posted on October 19, 2015 by Lisa Marie Bowman

A few nights ago, I watched the infamous 1955 horror film, The Bride of the Monster.

This was not the first time that I had seen Bride of the Monster. (Nor is it the first time that I’ve talked about this film on this site.) As a fan of the work of the legendary director Ed Wood, I’ve seen the majority of his films, many of them several times. Bride of the Monster is not only the closest that Wood ever got to making a “legitimate” movie but it’s also my personal favorite of his films.

(Plan 9 may be fun but it has nothing on Bride of the Monster.)

As for the film’s plot — well, the story is typical Ed Wood. By that, I mean that it doesn’t make a bit of sense. There’s an old mansion in the middle of nowhere. There’s a gigantic Octopus who apparently lives in a pool of stagnant water that sits somewhere near the old mansion. There are hunters, who have a habit of vanishing whenever they wander too close to the house.

There’s also Lobo (Tor Johnson), the hulking mute who we’re assured is “harmless as a kitten.” Lobo develops a crush on Janet (Loretta King), the intrepid reporter who wanders too close to the mansion while looking for a story. Janet reminded me a lot of me, in that she wasn’t going to let a little thing like common sense get in the way of an experience.

And then, there’s Dr. Varnoff (Bela Lugosi). Dr. Varnoff is the owner of the mansion. He’s a scientist who was chased out of his home country by … well, by somebody. To be honest, it’s not always easy to figure out how Varnoff ended up in America with Lobo and a big octopus. It’s also difficult to understand why Varnoff is conducting experiments and killing people. Varnoff talks and talks about his reasons but just because a man talks doesn’t mean that he’s going to say anything.

Yes, Bride of the Monster is one of those films that makes absolutely no sense but you know what? That’s exactly why I love it. Like all of Wood’s film, it is unique. And I’d rather watch a film that is uniquely bad than one that is generically competent any day!

You have to respect the dedication of the actors who bravely pretended that they were being attacked by that octopus. For most of them, this meant laying in a shallow pool of water while grabbing hold of some rubber tentacles and thrashing about for a bit. Yes, it looks silly but that doesn’t change the fact that the actors really threw themselves into it. Even the film’s worst performances feel as if they’re being given by very dedicated actors.

It should also be noted that this was Bela Lugosi’s final film (with the exception of his posthumous appearance in Plan 9 From Outer Space). And people always seem to make fun of Lugosi’s performance here but you know what? He’s not bad at all. He brings a tragic weariness to even the most ludicrous of lines. I’m sure that Lugosi was not hoping that his career would end with something like Bride of the Monster. But he still gave it his all.

As bad as Bride of the Monster may be, Bela Lugosi is very, very good. When you watch the film, don’t judge it too harshly. Don’t focus on the awkward line readings or the nonsensical plot or …. well, just don’t focus on all the things that you usually think of as indicating whether or not a film is good or bad.

Instead, when you watch it, watch it for Bela.

You won’t be disappointed!